This is a review for the Orlando Rocks show on Saturday July 27, 2013 featuring W.E.R.M., Stockholm, Empire Theory and Lovestruck Robot.
The line was just around the corner 30 minutes before the gates were scheduled to open, populated primarily by people holding complimentary tickets from the band, ready to show their support.
Once inside, as the clock grew nearer to show time, the House of Blues was about three quarters filled with many area locals interested in hearing some new music.
W.E.R.M. Took stage at 7PM sharp with an attempt to get the crowd riled up with it’s heavy, dark, melancholy and brooding six song set.
At their close, frontman Clayton Sturgeon , announced their first EP “dropping” (being released) September 24th and encouraged attendees to purchase multiple copies for their friends, familyand Basically everyone they know.
Next Empire Theory came on, opening with a slow build of instruments while searchlights scanned the crowd and, one by one, each band member emerged.
As the set unfolded, it seemed much lighter and friendly with a stronger reaction from the crowd.
For the third song, a viola emerged and what looked like a wooden box. This turned out to be a cover of The Verve’s ‘Bittersweet Symphony,’ and was the fan favorite of the set.
That song worked the crowd into a fervor for the next that contained a strong vocal drive, backed up by an equally powerful performance from the instruments.
The five song set closed with a tune that had heavy crowd involvement.
As Empire Theory left stage and Stockholm set up, about half of the crowd left the floor, crowding the bars, or took off to explore other parts of Downtown Disney.
But as the lights came back, it seemed that much of them returned and were given an energetic six song set in return.
The band’s energy rose with the first song and had much of the crowd dancing in unison with the performance.
A saxaphone made an appearance on the third song that added a unique twist to this genre.
‘Wildfire,’ their last album’s single, had a very energetic play that spurned a majority of the audience into “reckless movement” (white people dancing).
They closed with a new song that also was the catalyst for rhythmic crowd gyrations, with a bit of rave-like movement, due to the strobing lights overhead.
During Stockholm’s breakdown and Lovestruck Robot’s setup, even more of the crowd jumped ship, leaving only about 100 people inside the venue.
A brief electronic intro set Love Struck Robot up and they proceeded to rock with harmonious vocals and pressing instrumentals. They next song seamlessly bled into the first and continued the rhythm of of the singer crying out the lyrics, as the instruments rang out in support.
Ultimately, they closed with just a few, but overjoyed fans nonetheless.